I spend a lot of time obsessing about getting a dignified eight hours' sleep.

I made orange juice from concentrate and showed her the trick of squeezing the juice of one real orange into it. It removes the taste of being frozen. She marveled at this, and I laughed and said, Life is easy. What I meant was, Life is easy with you here, and when you leave, it will be hard again.

That is my problem with life, I rush through it, like I'm being chased. Even things whose whole point is slowness, like drinking relaxing tea. When I drink relaxing tea I suck it down as if I'm in a contest for who can drink relaxing tea the quickest.

There's always the sense that you should strike while the iron's hot and while there are all these opportunities, but that's not the way I get ideas. It has to be more organic, building up through living and through experiencing things.

So the recordings were these immersive landscapes, and yet, unlike the performances that almost no one would see, I had a sense that these could live forever. I was just starting to get my head around the democratic aspect of art; I didn't want to make rarefied things that were either alienatingly obscure or elite and art-worldy, so a recording that anyone could buy was a great medium.

There was nothing in this world that was not a con, suddenly I understood this. Nothing really mattered, and nothing could be lost.

The thing I am most interested in is power relations - it is so easy in a relationship like that [of an artist and a gallery manager], to imagine that the other person is living a perfect life.